The Dangerous Animals Club by Stephen Tobolowsky

By Stephen Tobolowsky

When you bumped into Stephen Tobolowsky in the street, you wouldn't be wrong: convinced, you’ve noticeable him prior to. A formative years dentist? A former geometry instructor? Your neighborhood florist? Tobolowsky is a personality actor, essentially the most prolific reveal and degree presences of our time, having seemed in productions that variety from Deadwood to Glee, from Mississippi Burning to Groundhog Day.

But Stephen Tobolowsky, it seems, isn't just an actor; he's additionally a dazzlingly gifted storyteller and author. He has earned a loyal base of enthusiasts for his unique tales, instructed in entrance of dwell audiences in addition to in a favored podcast. Now, for the 1st time, he has assembled these tales the following. the result's artistic mitzvah, a piece of artwork, and a story feat that mixes biography and essay, ranging in tone from the hilarious to the introspective.

To learn those pages is to go into an fabulous global that, like several artwork, is common but person, established but disquieting. a deadly global, indeed.

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16066) Iid. (Mus. Bat. Soc. No. 16132) ]nose-flute (LUSCHAN I pl. XXXIII fig. 2) id. (LUSCHAN I pl. XXXIII fig. 6) piston-flute (SCHMIDT-ERNSTHAUSEN (p. 273 fig. 2) pan-pipe (single row) (VON HORNBOSTEL I fig. facing p. 352) id. (NEUHAUS Vol. I p. 384 fig. 306a) id. (NEUHAUS Vol. I p. 384 fig. 306b) id. (WIRZ Ill Vol. I pl. XXV fig. 1) panpipes (double row) (BUSCHAN I Vol. I p. 90 fig. 118) bundle flute (VON HORNBOSTEL II pl. XIII) shawm, made of a folded blade of grass ("Blattel-Instrument") (STEPHAN and GRAEBNER p.

54 Sym- No. bol MUSIC IN NEW GUINEA Name of the instrument Literature WERNER 56; WILLIAMS II 165/171 and fig. facing p. 165 ; IV 89, 195 ; V passim; VI (XII p. 49) ; WINTHUIS p. ; WIRZ IV 71, 141, 183, 283, 285 et seqq. , and Table XXII. :f± whip instrument (fig. 64) HADDON III 274/5. humming top FINSCH IV 325; STEPHAN and GRAEBNER 112 fig. 118 No. 2. top with humming "propellor" HELD 347 with fig. DESCRIPTION OF LINE DRAWINGS (figs. 1-62) N arne of the instrument No. Origin of the instrument A.

The old forms connected with religious life, has continued to exist side by side with different and younger music 83 -though as far as the people of the Nassau Mts. are concerned, without those wind instmments from the playing technique of which it originated. Assuming this to be the case, it explains the reason that, apart from an islet off the north coast of New Guinea, it was apparently only in the central mountains of the larger islands, New Guinea, New Ireland, and Bougainville, and perhaps also of New Britain, that the ancient form has been preserved to the present day: those regions being the best protected against the influx of foreign influences from overseas.

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